Arvie Smith Awarded the 2024 Fellowship in Fine Arts by The John Simon Guggenheim Memorial Foundation

(New York, NY)

The Estate of Robert De Niro, Sr. is pleased to announce that Arvie Smith is the 2024 recipient of the John Simon Guggenheim Memorial Foundation’s Fellowship in Fine Arts, underwritten by Robert De Niro in honor of his father, the painter Robert De Niro Sr., a Guggenheim Fellow in Fine Arts in 1968.

Arvie Smith is the fourth recipient of the fellowship established in 2021 by Robert De Niro in collaboration with the John Simon Guggenheim Memorial Foundation.

Bacchus, 2022. Oil on canvas, 72 x 60 inches. Courtesy of the artist and Monique Meloche Gallery.

In an artistic career spanning over 4 decades, Arvie Smith transforms the history of oppressed and stereotyped segments of the American experience into lyrical two-dimensional master works. His paintings use common psychological images to reveal deep sympathy for the dispossessed and marginalized members of society in an unrelenting search for beauty, meaning, and equality. Smith’s work reflects powerful injustices and the will to resist and survive. His memories of growing up in the South add to his awareness of the legacy that the slavery of African American’s has left with all Americans today. His intention is to solidify the memory of atrocities and oppression so they will never be forgotten nor duplicated.  

Smith (b. 1938, Houston, TX) lives and works in Portland, OR. Smith holds an MFA from the Hoffberger School of Painting, Maryland Institute College of Art and a BFA from Pacific Northwest College of Art. Smith studied at Il Bisonte and SACI in Florence in 1983.  He has had recent solo exhibitions at the Hallie Ford Museum of Art, Salem, OR (2022); moniquemeloche, Chicago, IL (2022); Jordan Schnitzer Museum, Portland, OR (2022); and Disjecta Contemporary Art Center, Portland, OR (2019). His work has been included in group exhibitions at the Venice Biennale, IT (2022); Galerie Myrtis (2019); UTA Art Space, Beverly Hills, CA; Portland Art Museum, Portland, OR (2017); and Upfor Gallery, Portland, OR (2020).   

Smith’s work is held in the permanent collections of the Portland Art Museum, Portland, OR; Delaware Museum of Art, Wilmington, DE; Reginald F. Lewis Museum, Baltimore, MD; Hallie Ford Museum of Art, Salem, OR; Philbrook Museum of Art, Tulsa, OK; Jordan Schnitzer Museum of Art at the University of Oregon, Eugene, OR; and Petrucci Family Foundation Collection of African American Art, Asbury, NJ and the Pierce and Hill Harper Arts Foundation, Detroit, MI. 

Lavar Munroe Awarded the 2023 Fellowship in Fine Arts by The John Simon Guggenheim Memorial Foundation

Photo credit: Thomas Towles

(New York, NY)

The Estate of Robert De Niro, Sr. is thrilled to announce that Lavar Munroe is the 2023 recipient of the John Simon Guggenheim Memorial Foundation’s Fellowship in Fine Arts, underwritten by Robert De Niro in honor of his father, the painter Robert De Niro Sr., a Guggenheim Fellow in Fine Arts in 1968.

Lavar Munroe is the third recipient of the fellowship established in 2021 by Robert De Niro in collaboration with the John Simon Guggenheim Memorial Foundation.


When All The World Is A Hopeless Jumble, 2022, Acrylic, spray paint, oil pastels, chalk, feathers and earrings on canvas, 50 x 77 inches. Courtesy of the artist and Monique Meloche Gallery.

Lavar Munroe (b. 1982, Nassau, Bahamas) earned his BFA from Savannah College of Art and Design in 2007 and his MFA from Washington University in 2013. Munroe’s work reflects his upbringing in the Bahamas and considers themes such as resilience, memory, ancestry, and fantasy

In 2014, Munroe was awarded a postdoctoral research fellowship at the University of North Carolina at Chapel Hill. He was included in Prospect.4: The Lotus in Spite of The Swamp, the New Orleans triennial curated by Trevor Schoonmaker, and the 12th Dakar Biennale, curated by Simon Njami, in Senegal. In 2015, Munroe's work was featured in All the World's Futures, curated by Okwui Enwezor, as part of the 56th Venice Biennale. 

His work has been included in museums such as the Nasher Museum of Art in Durham; Perez Art Museum, Miami; National Gallery of the Bahamas, Nassau; MAXXI Museum of Art, Rome; Museum of the African Diaspora, San Francisco; Virginia Museum of Modern Art, Virginia Beach; Ichihara Lakeside Museum Ichihara, Japan; and The Drawing Center, New York.

Good Witch, Bad Witch, 2022. Acrylic, oil pastels, and feathers on canvas, 52 x 70 inches. Courtesy of the artist and Monique Meloche Gallery.

Munroe was awarded residencies at the Skowhegan School of Painting and Sculpture, MacDowell Colony, the Headlands Center for the Arts, Joan Mitchell Center, Thread: Artist Residency & Cultural Center (a project of the Josef and Anni Albers Foundation), a was recipient of the Joan Mitchell Foundation Painters and Sculptors Grant (2013). He was an inaugural Artists in Residence at the Norton Museum of Art (2020). 

His work was most recently included in exhibitions at The Centre Pompidou-Metz (France), The Zeitz Museum of Contemporary Art Africa (South Africa), and a solo exhibition in Monique Meloche Gallery in Chicago and Jack Bell Gallery in London, both in 2023. Lavar Munroe lives and works between Baltimore, Maryland and Nassau, Bahamas.

Mark Thomas Gibson Awarded the 2022 Fellowship in Fine Arts by The John Simon Guggenheim Memorial Foundation

Photo by Ryan Collerd, courtesy of The Pew Center for Arts & Heritage.

(New York, NY - April 7, 2022) - The Estate of Robert De Niro, Sr. is delighted to announce that Mark Thomas Gibson is the 2022 recipient of the John Simon Guggenheim Memorial Foundation’s Fellowship in Fine Arts, underwritten by Robert De Niro in honor of his father, the painter Robert De Niro Sr., a Guggenheim Fellow in Fine Arts in 1968.

Beginning in 2021, De Niro partnered with The John Simon Guggenheim Memorial Foundation to endow this new fellowship. Mark Thomas Gibson is the second recipient of the fellowship, the first fellowship awarded in 2021 to the late artist, Peter B. Williams.

Mark Thomas Gibson (b. 1980, Miami, FL) is a visual artist working in painting, print, sculpture, ink and watercolor. Gibson’s paintings, inspired by comics, provide commentary on American history and explore Black representation. Gibson's personal lens on American culture stems from his multifaceted viewpoint as an artist—as a black male, a professor, and American history enthusiast.

Town Crier: April 9th, 2022, 2022, collage on paper, 30 x 22 inches

Photo Credit: Mark Thomas Gibson Studio

Gibson received his BFA from The Cooper Union in 2002 and his MFA from Yale School of Art in 2013. He is represented by M+B in Los Angeles and Loyal in Stockholm. In 2016, he co-curated the traveling exhibition Black Pulp! with William Villalongo. Gibson has released two artist books, Some Monsters Loom Large (2016) and Early Retirement (2017). In October 2021, he had his most recent solo exhibition Don’t Let Me Be Misunderstood at M+B Los Angeles. See more of Gibson’s work here.

In 2021, Gibson was awarded residencies at Yaddo and the Elizabeth Murray Artist Residency. He was awarded a Pew Fellowship from the Pew Center for Arts and Heritage, Philadelphia, PA and a Hodder Fellowship from Lewis Center for the Arts, Princeton University, Princeton, NJ. Gibson was most recently awarded a 2022 Guggenheim Fellowship from the John Simon Guggenheim Memorial Foundation, New York, NY.

The Guggenheim Foundation was founded in 1925 to encourage and support gifted individuals to do their work under the freest possible conditions. From early Fellows like Aaron Copland, Jacob Lawrence, Martha Graham and Zora Neale Hurston, to the more than 125 Fellows who have received the Nobel Prize (including four in 2020), and to the five Fellows who won Pulitzer Prizes in 2020, the Guggenheim Fellowship has both enabled and recognized great achievement.

For more information and to apply, visit GF.org

The Magical Disappearing Action, 2021, ink and acrylic on canvas, 46 x 64 inches 

Photo Credit: M+B Los Angeles 



John Simon Guggenheim Foundation Announces Fellowship in Fine Arts in Honor of Painter and Former Fellow, Robert De Niro, Sr.

Robert De Niro And The John Simon Guggenheim Memorial Foundation Announce Collaboration In Honor Of Painter And Guggenheim Fellow Robert De Niro Sr.

logo.png

Robert De Niro and The John Simon Guggenheim Memorial Foundation are pleased to announce a Fellowship in Fine Arts in honor of Mr. De Niro’s father, the painter Robert De Niro Sr., a Guggenheim Fellow in Fine Arts in 1968. His work, in the words of artist, critic and curator Robert Storr, “vibrates with the conviction and complexity of the modernist faith at its height.” The first Guggenheim Fellow in Fine Arts to be supported by Robert De Niro will be announced on April 8.

Robert De Niro says that “I am very happy to join the Guggenheim Foundation in supporting this Fellowship which really brings the story of my father full circle. He was awarded a Guggenheim Fellowship in 1968 at the age of 46—a time in the middle of his career when the financial and professional support of the Foundation made all the difference. That year, he was able to travel and lecture, and work in his studio more than he had in years. The paintings he made in 1968 and the years that followed were a turning point in his career.”

In 1968, Robert De Niro Sr.’s cohort of twenty-two Fine Arts Fellows included Donald Judd and Tony Smith. The Fellowship celebrated his work and freed him financially to continue creating the art that he always felt he was destined to make. It also gave him a much-needed boost of recognition by honoring the sharpness of his drawings and the colorful provocations of his paintings.

RDN-Sr.-with-Still-Life-LORES-768x619.jpg

Edward Hirsch, noted poet and President of the Guggenheim Foundation, says that “we are proud of the fact that the Guggenheim Foundation played an important part in sustaining Robert De Niro Sr.’s work at a difficult period in his life. We honor his calling as an artist; we believe that a vocational sense of mission is at the heart of our work at the Foundation. We are proud of the contribution that individual Guggenheim Fellows continue to make to the culture of our country—and to the world at large.”

The Guggenheim Foundation was founded in 1925 to encourage and support gifted individuals to do their work under the freest possible conditions. From early Fellows like Aaron Copland, Jacob Lawrence, Martha Graham and Zora Neale Hurston, to the more than 125 Fellows who have received the Nobel Prize (including four in 2020), and to the five Fellows who won Pulitzer Prizes in 2020, the Guggenheim Fellowship has both enabled and recognized great achievement.

As Robert Storr, a Guggenheim Fellow in 2016, explains: “The painter Robert De Niro Sr. received his fellowship from the Guggenheim Foundation at a crucial moment in his career when it seemed that he had been lost in the shuffle of talents caught up by the stylistic shifts and generational surges of the New York School in the 1950s and 1960s. It put him back into play and provided him the means and the validation that made it possible for him to continue pursuing his singular vision. His son Robert created a prize in Robert De Niro Sr.’s name to assist artists of comparable distinction who found themselves in a similar predicament. The transformation of that Prize into a Guggenheim Fellowship is a natural fit with the Foundation’s larger mission. It adds luster to the overall fellowship program while further honoring the Prize’s namesake by reciprocating the generosity that the Foundation showed him by enhancing its capacity to spread resources to a wider scope of those in need. These days it is commonplace to speak of transactions as being win/win propositions, but in this case it is literally true because, first and foremost, artists worthy of greater recognition come out ahead.”

For more information, please contact:

Susan Mellin, Guggenheim Foundation / smellin@gf.org

Marc Diamond, Guggenheim Foundation / marc.diamond@gf.org

Stan Rosenfield, RMG / stan@rmg-pr.com

Byron Kim Awarded 2019 Robert De Niro, Sr. Prize

BYRON KIM Synecdoche, 1991-1992 Wax and oil on panel 100 panels 8 x 10 in. each (JCG10305) Collection of the San Francisco Museum of Modern Art. © Byron Kim 2019. Image courtesy the artist and James Cohan, New York.

BYRON KIM Synecdoche, 1991-1992 Wax and oil on panel 100 panels 8 x 10 in. each (JCG10305) Collection of the San Francisco Museum of Modern Art. © Byron Kim 2019. Image courtesy the artist and James Cohan, New York.

(New York, NY – December 2, 2019) – The Estate of Robert De Niro, Sr. is delighted to announce that Byron Kim is the 2019 recipient of the esteemed Robert De Niro, Sr. Prize. Established in 2011 by Robert De Niro, Jr. in honor of his late father, the accomplished painter Robert De Niro, Sr., the prize recognizes a mid-career American artist for their significant and innovative contributions to the field of painting. Nominated each year by a distinguished selection committee, Byron Kim is the eighth recipient of the $25,000 merit-based prize, administered by the Tribeca Film Institute (TFI) of which Robert De Niro, Jr. is a co-founder. 

This year’s selection committee included Carmen Hermo, Associate Curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum; Norman Kleeblatt, former Chief Curator of The Jewish Museum and now an independent curator and critic; and William S. Smith, Editor of Art in America

Of Kim’s work, Smith remarked, “Byron Kim demonstrates how a minimalist visual vocabulary can be maximally affecting. His paintings reflect his careful attention to the subtleties of color, surface, and light while simultaneously demonstrating the medium’s ability to facilitate everything from broad social engagement to deeply personal rumination.”

“Byron Kim’s practice stands out for its conceptual rigor and its poetic engagement with and reflection of everyday life,” Carmen Hermo offered. “He explores issues of time, identity, and diaristic musings using a minimalist approach to unexpectedly emotional ends.”

Adding to the comments of his fellow jurors, Norman Kleeblatt states that, “To describe Byron Kim’s paintings it seems inevitable to reach for hybrid, dialectical, ambiguous, and/or contradictory explications. His paintings are at once abstract and representational, painterly and conceptual.  While the quality of his paint is often sensual, the structure is usually informed by indexical reasoning. A sense of expressive detachment fuses with archival zeal, yet a superimposed personal scripted narrative overrides the objective. Kim is heir to the contrasting, perceptual sublimes of both John Constable and Ad Reinhardt.”

Robert De Niro remarks that, “Byron Kim’s dedication to his art and his deep commitment to teaching resonates with my father’s own commitment. I am therefore especially pleased with the selection committee’s choice this year as it truly honors my father’s memory.”

BYRON KIM Sunday Painting 9/11/16, 2016 Acrylic and pencil on canvas mounted on panel 14 x 14 in. 35.6 x 35.6 cm (JCG9575) © Byron Kim 2019. Image courtesy the artist and James Cohan, New York.

BYRON KIM Sunday Painting 9/11/16, 2016 Acrylic and pencil on canvas mounted on panel 14 x 14 in. 35.6 x 35.6 cm (JCG9575) © Byron Kim 2019. Image courtesy the artist and James Cohan, New York.

Byron Kim, born in 1961, is a Senior Critic at Yale University. He received a BA from Yale University in 1983 and attended Skowhegan School of Painting and Sculpture in 1986. His work sits at the threshold between abstraction and representation, between conceptualism and pure painting. In his richly hued, minimalist works, Kim seeks to push the edges of what we understand as abstract painting by using the medium to develop an idea that typically gets worked out over the course of an ongoing series. Kim’s paintings may appear to be pure abstractions, but upon investigation, they reveal a charged space that often connects to the artist’s personal experiences in relation to larger cultural forces. Recent solo exhibitions include Byron Kim: The Sunday Paintings, Museum of Contemporary Art Cleveland, Ohio (2019); Pond Lily Over Mushroom Cloud: Byron Kim Adapts the Black on Black Cosmology of Maria Martinez, Museum of Contemporary Art San Diego, San Diego, California (2016); and a mid-career survey, Threshold, Berkeley Art Museum, California, which traveled to the Samsung Museum of Modern Art, Seoul, South Korea and five other locations in the United States (2006–7). His artwork may be found in the permanent collections of the Art Institute of Chicago; Brooklyn Museum, Brooklyn; Hirshhorn Museum and Sculpture Garden, Washington D.C.; National Gallery of Art, Washington D.C.; Whitney Museum of American Art, NY; and Tate Modern, London, UK. 

DC Moore Gallery Exhibition of Works by Robert De Niro, Sr. Considered "Not to Miss" by Artnet Editors

Editors’ Picks: 14 Things Not to Miss in New York’s Art World This Week

If you have any energy after Art Basel Miami Beach, there's plenty to see here in New York.

Sarah Cascone, December 9, 2019

Installation view of “Robert De Niro, Sr. – Intensity in Paint: Installation of Six Works” at DC Moore Gallery. Photo courtesy of DC Moore Gallery.

Installation view of “Robert De Niro, Sr. – Intensity in Paint: Installation of Six Works” at DC Moore Gallery. Photo courtesy of DC Moore Gallery.

11. “Robert De Niro, Sr. – Intensity in Paint: Installation of Six Works” at DC Moore Gallery

Timed to the release of a new monograph of his work, the late Robert De Niro, Sr., a long-overlooked contemporary of Jackson Pollock and Mark Rothko and father to actor Robert De Niro, has a show of his landscape paintings at DC Moore.

Location: DC Moore Gallery, 535 West 22nd Street
Price: Free
Time: Tuesday–Saturday, 10 a.m.–6 p.m.

—Sarah Cascone

The Robert De Niro, Sr. Monograph Listed as "New & Noteworthy" by the New York Times

New & Noteworthy Visual Books, From ‘Get Out’ to Richard Avedon

November 19, 2019

ROBERT DE NIRO, SR.: Paintings, Drawings, and Writings: 1942-1993, introduction by Robert De Niro Jr. (Rizzoli, $65.) The actor pays tribute to his father, an Abstract Expressionist painter and poet whose five-decade career made him a New York School peer of Rothko and others.

RDN Sr. Monograph Cover.jpeg

DC Moore Installation of Works by Robert De Niro, Sr. Spotlighted by ‘The New Criterion’

The Critic’s Notebook

by The Editors

Art:

“Robert De Niro Sr.: Intensity in Paint” at DC Moore Gallery (through December 21) & Robert De Niro, Sr.: Paintings, Drawings, and Writings: 1942–1993 (Rizzoli Electa): Having trained under Hans Hofmann and Josef Albers, the painter and poet Robert De Niro, Sr., set a course similar to that of other New York School realists who borrowed stylistic mannerisms and an extemporaneous approach to composition from Abstract Expressionism without ever (aside from a few canvases in his student years) cutting completely away from their perceived experiences of the world. His light-filled, evocative paintings—with their gestural expanses of color bounded by expressive arabesques of structuring line—place De Niro alongside other artists who studied under Hofmann such as Nell Blaine, Jane Freilicher, Louisa Matthíasdóttir, Paul Resika, and Wolf Kahn. But as much as De Niro was responding to artistic goings-on in downtown Manhattan, he was also paying deep attention to French predecessors such as Matisse, Bonnard, Rouault, and Denis, as well as artists of the greater Western tradition stretching back to the Early Renaissance. His art is now the subject of a book published by Rizzoli—the first comprehensive monograph on the artist— with an introduction by his son (the actor) and essays by Robert Storr, Charles Stuckey, Susan Davidson, and the painter Robert Kushner. Examples of De Niro’s work can also be found this month at DC Moore Gallery in Chelsea, where six of his paintings are on view through December 21. —AS

Robert De Niro, Sr. Landscape with White Houses, 1968, Oil on canvas, courtesy of DC Moore Gallery

Robert De Niro, Sr. Landscape with White Houses, 1968, Oil on canvas, courtesy of DC Moore Gallery

Opening Thursday, November 14 “Intensity in Paint: Installation of Six Works"

Featuring works by Robert De Niro, Sr., “Intensity in Paint: Installation of Six Works” will be on view at DC Moore Gallery from November 14-December 21. The exhibition coincides with the release of the monograph, Robert De Niro, Sr.: Paintings, Drawings, and Writings: 1942–1993

DeNiro Evite-2.jpg

"The Other Robert De Niro" | Art&Object

by Karen Chernick | November 11, 2019

Robert De Niro, Sr. and Jr., 1983

Robert De Niro, Sr. and Jr., 1983

In the 1960s, a different Robert De Niro was making a name for himself in the New York art scene.

The best place to spot a real-life Robert De Niro is at the Tribeca Grill, a veteran restaurant in downtown New York City known for its industrial charm and abundance of celebrities out to lunch. No, not De Niro the actor, though he is one of the establishment's co-owners. The De Niro in question is modernist painter Robert De Niro, Sr.—father of the Academy award-winner—whose colorful artworks have adorned the eatery's walls since it first opened in 1990.

"Every piece of art in the restaurant is De Niro Sr.'s," Martin Shapiro, managing partner of the Tribeca Grill, told Art & Object of the brasserie's roughly forty De Niro, Sr. paintings. "There's no other artist that's shown. And that's really what our décor is, it's almost like a gallery. It's a permanent collection."

Robert De Niro, Sr., The Last Painting, 1985-1993

Robert De Niro, Sr., The Last Painting, 1985-1993

In fact, the restaurant is one of the only places to view this lesser-known painter's work on a permanent basis. Of the museums that have his work in their collections (including the Metropolitan Museum of Art, Whitney Museum of American Art, and Smithsonian American Art Museum), few exhibit them regularly. De Niro is a big name onscreen, far less so in the art world.

But the artist is currently having a bit of a limelight moment, thanks to the recent publication of his first comprehensive monograph, Robert De Niro, Sr.: Paintings, Drawings, and Writings 1942-1993 (Rizzoli, October 2019). A solo exhibition devoted to the artist will also soon open at DC Moore, the New York gallery representing De Niro, Sr.

De Niro (the actor) has had much to do with keeping his father's work in the public eye. "It has been important to me to preserve my father's artistic legacy," he writes in the monograph introduction, "to tell the story of his life and his art, and to make sure that they are known and understood."

"I remember as a kid being in his studio and listening to him talk about dealers and artists, and the great works of art and literature he loved," De Niro describes in his monograph introduction, "and I understood, even at that young age, that my father was passionate about what he did."

Ultimately, his was the classic tale of a tortured, unappreciated creative. Thomas Hess, longtime editor of ARTnews and one of De Niro, Sr.'s champions, wrote in 1976 that "after some 30 years of uninterrupted hard work, usually in impossible conditions (crowded small studios, bursting pipes, unpaid bills–day in, day out, De Niro's routine has assumed the shape of a classic bohemian hard-luck story), he remains almost unknown."

The artist's Last Painting (1985-93), displayed at the Tribeca Grill, is speckled with jewel-toned color and Matissean patterns. It shows a table draped with a decorative lavender tablecloth, set with two classically-shaped white vases, lemons, and a dish of pickles. Behind the table is a tall, verdant house plant; a banjo or lute rests on the floor. The scene is uninhabited–it is an image of De Niro, Sr.'s studio as a vacant still life, an exploration of colors, shapes, and objects.

"He also did both of our menu covers," Shapiro notes. "Our menu for lunch and dinner, and our menu for dessert. One is a drawing of the building that we're in, and the other is a drawing of the bar. I remember him sitting at the bar, drawing the bar, back when we first opened up." De Niro, Sr. died on May 3, 1993; it was his 71st birthday.

It is largely thanks to his son that his works are preserved, exhibited, and available on the art market today. De Niro has shared his fame with his namesake, hanging his father's paintings in many of his Manhattan business ventures. "We get a lot of customers that'll come in and ask about his art, and walk around the space," adds Shapiro. "We get people every day that come in, and even if they don't come specifically for the art, they're just wowed by it."

Interview | Robert De Niro Speaks Tom Power of the podcast "Q with Tom Power" featured on CBC Radio

'It's substantial, it's good, it's real': Robert De Niro on His Father's Legacy as an Artist

CBC Radio · Posted: Oct 18, 2019

“You know Robert De Niro as one of the most-celebrated actors of his generation. From his breakthrough role in Mean Streets up to his latest film The Irishman, the two-time Oscar winner has a career that spans decades, but before he was known as an actor he had a different claim to fame: he was the son of Robert De Niro Sr., the abstract expressionist painter.

Robert De Niro, Sr. Buildings in a Landscape, 1968, Oil on canvas, 24 x 30 inches. The Estate of Robert De Niro, Sr.

Robert De Niro, Sr. Buildings in a Landscape, 1968, Oil on canvas, 24 x 30 inches. The Estate of Robert De Niro, Sr.

De Niro Sr. was a highly regarded but lesser-known member of the New York School of artists, along with Mark Rothko, Willem de Kooning and Jackson Pollock. He had a 50-year career as a painter, which began with his very first solo show at the age of 24 in 1946.

In recent years, De Niro Sr.'s career has been re-examined in the HBO documentary, Remembering the Artist: Robert De Niro, Sr. and now a new book collects much of his artwork and poetry, along with essays that put his work into context. It's called Robert De Niro, Sr.: Paintings, Drawings, and Writings: 1942-1993 and the introduction was written by De Niro.

The actor joined q's Tom Power from New York to talk about his relationship with his father and how he's honouring his legacy as an artist.

"He was dedicated, he was prolific and his work is real," said De Niro. "It's good. It's not flippant, it's substantial. When you look at his paintings, his black and whites, I have no other way of saying it — it's substantial, it's good, it's real."

https://www.cbc.ca/radio/q/friday-oct-18-2019-robert-de-niro-jeff-thomas-and-more-1.5324650/it-s-substantial-it-s-good-it-s-real-robert-de-niro-on-his-father-s-legacy-as-an-artist-1.5324663

Interview | Robert De Niro Speaks with Nadja Sayej of Forbes

“Robert De Niro on His Father’s Legacy: ‘I Like to Respect Things the Way They Are”

October 14, 2019

Robert De Niro poses next to a painting by his father Robert De Niro, Sr. at the exhibition of Robert De Niro, Sr. paintings at La Piscine in Roubaix, France on June 18th, 2005. Courtesy of Gamma-Rapho via Getty Imagineeres

Robert De Niro poses next to a painting by his father Robert De Niro, Sr. at the exhibition of Robert De Niro, Sr. paintings at La Piscine in Roubaix, France on June 18th, 2005. Courtesy of Gamma-Rapho via Getty Imagineeres

Robert De Niro might be a tough guy onscreen, but when he talks about his father, Robert De Niro Sr., he softens up. You might have seen the documentary on his father, Remembering the Artist: Robert De Niro, Sr., which details the life of De Niro Sr., an abstract expressionist painter who saw his rise in the postwar New York art scene in the 1940s and 1950s.

While his paintings are on permanent view at De Niro’s New York venues; the Tribeca Grill, Greenwich Hotel and the Tribeca Film Center, he is now honoring the legacy of his father in a new book released by Rizzoli, called Robert De Niro, Sr., Paintings, Drawings and Writings: 1942-1993. The book features over 100 paintings and previously unpublished diary entries by De Niro Sr, alongside an essay by De Niro Jr., among others. De Nir Sr.’s paintings will also be on view on November 14 at the DC Moore Gallery in New York, a solo show, called Intensity in Paint: Installation of Six Works. De Niro spoke to me about preserving his father’s legacy, what movies he saw with his dad and why he calls The Irishman a “scrolling canvas.”

You said in the HBO documentary about your dad, that it’s your responsibility that your dad gets his due. Is this new book part of it?

Robert De Niro: Yeah, of course, the book and even the documentary, which was initially just for the family, or anybody who was interested. It’s for my kids, my grandkids, great grandkids and so on, just so they would know who my father was, their grandfather or great grandfather was, and what a wonderful artist he was.

Is there a reason why you think he was a genuine artist? 

He was a real dedicated artist, a real honest, he was prolific, anybody who you talk to who is knowledgeable about art and the art scene would not disagree with that. That’s all.

There’s one photo in the book of him in his SoHo studio, I think it was taken on West Broadway, right?

Robert De Niro’s studio in New York. Courtesy of Rudy Burckhardt

Robert De Niro’s studio in New York. Courtesy of Rudy Burckhardt

His last studio was on West Broadway, which I have pretty much kept the way he left it. He used to have another one on West Broadway, which was on the ground floor. 55 or 65 years ago. That picture of him in the studio, that was more recent.

What do you remember about growing up there or going to that studio?

The more recent studio is the one that we have, maybe he got in there around 30 years ago, my mother had lived there and she gave it to him. She got a different studio in a different part of SoHo and he took that one. 

You’ve kept his studio as it is, so I’m wondering if you’d ever turn it into a gallery or museum?

People were asking me if I’d make it in a way so people can visit it, and I think—yeah, maybe, it’s a possibility, depending on what you have to do. It’s a building where other people live, so you set times when people can go. It’s still a possibility, at this point.

[…]

Growing up with artist parents probably means you grew up with less rules than other people? Did that enable you as an artist, as well?

I don’t know, I mean, maybe in terms of taste in some ways. I like things to be—I like to respect things the way they are. Not so structured or perfect, any of that stuff. Depends on how I apply that, but it’s something that I say ‘well, what’s wrong with just leaving it the way it is?’ There’s nothing to do, it’s fine. It is what it is.

If it ain’t broke don’t fix it.

If it ain’t broke don’t fix it! 

Just keep it simple.

This is similar, kind of the same, but not really, let’s say you go to a restaurant and they change a dish that has been there for years because they have a new chef, and the new chef doesn’t want to make it and the owners allow them, I would imagine, for ego reason, or something, to take that classic salad and change it. To change it, why? Just leave it on the menu!

That’s why you go to that restaurant! 

It’s annoying.

[…]

Because you have such a seasoned eye for art, I wonder what was the greatest lesson your dad taught you in life?

As I remember, he said, ‘you like it, you like it, you don’t, you don’t.’ So, it’s that simple. To me, I prefer art that’s more abstract or impressionistic, it’s more of an interpretation of what’s being looked at. It’s a different type of attitude towards art, in a certain way.

Available Now | Robert De Niro, Sr.: Paintings, Drawings, and Writings: 1942-1993

The Estate of Robert De Niro, Sr. is pleased to announce the publication of Robert De Niro, Sr.: Paintings, Drawings and Writings: 1942-1993.

ME-9900000000079e3c.jpg

Published by Rizzoli Electa, this is the first monograph to explore the work of American painter and poet, Robert De Niro, Sr. (1922—1993). A student of Black Mountain College, an artist championed by Peggy Guggenheim, a poet and a man committed to his own vision, De Niro bridged the divide between European Modernism and Abstract Expressionism through his art. De Niro was a major participant in postwar American art, having studied under prominent artists Josef Albers and Hans Hofmann, all the while remaining faithful to his painterly vision.

Over the course of his fifty-year career, De Niro created portraits, still lifes, nudes and room interiors in a variety of media. He painted with a heavily loaded brush which led critics to associate him with the famed Abstract Expressionist artists, including Willem de Kooning and Jackson Pollock. His representational subject matter and brilliant use of color bore the influence of Henri Matisse.

This lavishly illustrated monograph brings together De Niro’s paintings, prints and drawings as well as a selection of his poetry and never-before-published writings. Essays by noted scholars Susan Davidson, Robert Storr, Charles Stuckey and artist, Robert Kushner, as well as an illustrated chronology that includes unpublished photographs and ephemera, explore the depth and breadth of the artist’s oeuvre. Readers will grasp the innovation, creativity and conviction of Robert De Niro, Sr. and the passion with which he lived until his final days. 

Robert De Niro, Sr.: Paintings, Drawings, and Writings: 1942-1993
Introduction by Robert De Niro, Jr.
Essays by Robert Storr, Charles Stuckey, Robert Kushner, and Susan Davidson
Hardcover / 9.5” x 12” / 256 pages / 150 color illustrations
$65.00 U.S., $85.00 Canadian, £50.00 U.K.
ISBN: 978-0-8478-6288-7 / Rizzoli Electa

https://www.rizzoliusa.com/book/9780847862887/

Robert De Niro, Sr. featured in Editors' Picks: 23 Things Not to Miss in New York's Art World this Week

Another busy week in the New York Art World

artnet News, October 7, 2019

2. “Robert De Niro in Conversation with Robert Storr: My Father, the Artist” at the 92Y

installation-De-Niro-Sr-2014-CROPPED.jpg

Robert De Niro continues to champion the work of his father, painter and poet Robert De Niro Sr., with the publication of the artist’s first monograph, Robert De Niro, Sr.: Paintings, Drawings, and Writings: 1949–1993. The actor will reminiscence about the elder De Niro’s life and career, which included debuting at Peggy Guggenheim’s Art of This Century gallery in 1945, with art historian Robert Storr.

Location: 92Y, Kaufmann Concert Hall, 1395 Lexington Avenue
Price: From $45
Time: 7:30 p.m.

—Sarah Cascone

https://news.artnet.com/art-world/editors-picks-october-7-1660675

Press Release | DC Moore Gallery Presents "Robert De Niro, Sr.: Intensity in Paint, Installation of Six Works”

Robert De Niro, Sr.: Intensity in Paint: Installation of Six Works

Self Portrait, 1960, Oil on paper, 22 1/4 x 30 1/4 inches

Self Portrait, 1960, Oil on paper, 22 1/4 x 30 1/4 inches

 November 14 – December 21, 2019

DC Moore Gallery is proud to present Robert De Niro, Sr.: Intensity in Paint, Installation of Six Works highlighting De Niro’s exploration of landscape. Over the course of his fifty-year career, Robert De Niro, Sr. (1922 – 1993) united his personal devotion to European modernism with the concurrent practices of Abstract Expressionism to produce paintings of a distinctive rich, visual experience. The works on view not only only typify De Niro’s painterliness and fluid brushwork, but most importantly showcase his mastery in imbuing the canvas with vitality and brilliance through his post-fauve chromatic composition.

DC Moore Gallery’s installation coincides with the release of the first monograph of Robert De Niro, Sr.’s work, published by Rizzoli Electa this October. The publication, Robert De Niro, Sr.: Paintings, Drawings and Writings: 1949-1993, with essays by Susan Davidson, Robert Storr, Charles Stuckey, and Robert Kushner, includes vivid reproductions of De Niro’s paintings, prints and drawings. Following an introduction by the artist’s son, Robert De Niro, Jr., never-before-seen passages from De Niro, Sr.’s personal journal and a selection of his poetry convey the depth of the artist’s passion for his work.

Landscape with Road, n.d., Oil on canvas, 27 1/4 x 34 1/4 inches

Landscape with Road, n.d., Oil on canvas, 27 1/4 x 34 1/4 inches

De Niro was born in 1922 in Syracuse, New York into an Irish-Italian family. By the young age of 11, De Niro began to take adult level classes at the Syracuse Museum of Art. In 1939, De Niro travelled to Provincetown to attend Hans Hofmann’s summer arts school, where he was exposed to Hofmann’s contemporaries in Paris; French modernists like Matisse, Rouault, Rousseau, and Bonnard. At Hofmann’s suggestion, De Niro continued his studies at Black Mountain College, where he studied under the tutelage of Josef Albers, formerly a professor at the famed Bauhaus. Moving to New York in 1942, De Niro was introduced to the budding Abstract Expressionist movement. There he returned to Hans Hofmann’s school and received financial support from Hilla Rebay, Director of Solomon Guggenheim’s Museum of Non-Objective Painting. Peggy Guggenheim gave De Niro his first solo-exhibition in 1946 at her revolutionary gallery, Art of This Century.

De Niro showed with galleries formative to the post-war New York School and has been associated with the second generation of Abstract Expressionists, whose work while abstract was largely representational and figurative. De Niro came to form close relationships with these artists, yet he never was truly a part of their milieu. At a time when artists, dealers, and critics declared the need for a new, American modern art, De Niro instead found inspiration in the work of French Modernists and sought to carry forth their honored tradition. Robert Storr describes De Niro as an artist “who feels utterly at ease in art history and wants nothing more than to pay lively and inventive homage to the work they love.” Throughout his prolific career, De Niro never wavered from his almost spiritual calling to study the history of art and work in his authentic style.

Moroccan Women, 1984, Oil on linen, 70 x 76 inches

Moroccan Women, 1984, Oil on linen, 70 x 76 inches

While De Niro did not officially join the ranks of the Cedar Bar, he assimilated the artistic freedom and active painting process that defined Abstract Expressionism. De Niro painted wet-on-wet, meaning he had three days to work a canvas before the oil paint dried. Throughout De Niro’s oeuvre, there are few signs of revisional intervention after the paint had dried, meaning he worked in a singularly confident and continuous manner. Landscape with Road, n.d., a fine example of De Niro’s characteristically abstracted landscapes, showcases the fluid movements of his brush across the canvas. The texture of the paint reflects a certain degree of improvisation, tempered by control and careful consideration. The simplified architectural forms and broad areas of color create passages of representation through the brushy, thick application of oil paint. As the artist Robert Kushner states, “De Niro is at his best when his approach is Apollonian, art for art’s sake, with little or no troubling relationship to the nuanced complexities of the contemporary world.” As the Impressionists abstracted landscape as a means to study composition and application of paint, De Niro also emphasizes the act of painting in itself. 

In the early 1960s, De Niro painted a series of self-portraits, including the one on view in this exhibition. Self Portrait, 1960, portrays the artist in an abstracted setting. The saturated, unnatural colors, reminiscent of German expressionism, suggest De Niro’s inner turmoil. In the background on the right side of the composition, a silhouetted figure looks upon the central figure. Perhaps it is an apparition of an older, knowing De Niro appraising his naïve former self. Also, likely, the outlined figure represents another self-portrait that De Niro was working on contemporaneously. The viewer glimpses an artist’s dark self-representation. Even in the most discouraging times of De Niro’s life, painting was his reprieve and salvation. The works of this installation bear witness to the greatest motivation of De Niro’s life, which was his boundless devotion to his work as a painter. As De Niro himself stated, “I am married to painting."

Robert De Niro, Sr. has work in many museum collections, including those of The Metropolitan Museum of Art, the Whitney Museum of American Art, Brooklyn Museum, Smithsonian American Art Museum, Hirschhorn Museum and Sculpture Garden, Albright-Knox Art Gallery, The Baltimore Museum of Art, Denver Art Museum, Everson Museum of Art, Yale University Art Gallery, Parrish Art Museum, Provincetown Art Association and Museum, National Academy Museum, amongst other esteemed collections. In 1968, De Niro received the prestigious John Simon Guggenheim Fellowship. In 2009, a retrospective of his work was presented at the Musée Matisse in Nice, France.

DC Moore Gallery is the exclusive representative of the Estate of Robert De Niro, Sr.

Interview | Robert De Niro Speaks with Jane Levere of Architectural Digest

“How Robert De Niro Jr. Is Shaped by the Artistic Sensibilities of His Father”

Architectural Digest, October 3, 2019:

By Jane Levere

RDN_Images_Father and son_9_6_19.jpg

The legendary actor Robert De Niro Jr. continues to win plaudits for his work, most recently for his portrayal of the title character in Martin Scorsese’s latest film, The Irishman, which had its world premiere at the New York Film Festival last week.

What is not necessarily so well-known about the actor, however, is that he has deep ties to his father, Robert De Niro Sr. (1922–1993)—a member, with Mark Rothko, Willem de Kooning, and Jackson Pollock, of the New York School of painters, as well as a poet—and his efforts to honor and maintain the legacy of his father’s work and talents.

One example of these efforts was the documentary Remembering the Artist, Robert De Niro Sr., which debuted at the 2014 Sundance Film Festival. In 2011, the actor also established a prize in honor of his father that recognizescontributions of a mid-career American painter; last year it was presented to Henry Taylor.

De Niro’s latest labor of love for his father will be revealed next week: On October 8, Rizzoli will publish the first comprehensive monograph on the painter, Robert De Niro Sr.: Paintings, Drawings, and Writings: 1942–1993. The book features 150 color illustrations of works in private collections and museums; De Niro Sr.’s writing and poetry, some never seen before; many unpublished photographs; an introduction by his son; and essays by painters and experts, including Robert Storr, Charles Stuckey, Robert Kushner, and Susan Davidson. DeNiro Jr. and Storr also will appear at 92Y in New York on October 7 to discuss the new book and De Niro’s recollections of his father.

In a phone interview with AD, the younger De Niro says that he chose to make the documentary and maintain his father’s studio in SoHo “for my kids, my kids’ kids. My older kids knew him, but my younger kids didn’t, and I want my grandkids, my great-grandkids all to be aware of who their grandfather was, their great-grandfather, that he was a genuine artist and a wonderful artist."

“My father’s work,” he adds, “was special, period. There’s no other way to say it: If you look at it, you see that it was not done in a perfunctory way.” He also says his father was “very careful” about what he produced, trying to make it “perfect,” a trait he called “unique to him and to who he was.”

De Niro Jr. is asked “a lot” whether he also paints, noting, “I just was never interested, [just as] my kids aren’t interested in [doing] what I do.” He also says his two youngest children, who are now in their early 20s, “were terrific artists when they were young. I always tried to get one of them to consider doing stuff, even in fashion, because their uncle Willi Smith was a fashion designer.”

Looking back, De Niro Jr. explains that his father and mother, the painter Virginia Admiral, "were the kind of parents who weren’t going to oppose my wanting to be an actor.” Although he says he doesn’t know whether they had a direct influence on him professionally, he believes he could have been affected by his father’s “sensibility in some way, my mother’s sensibility. I’m part of who they are, and in some way, they have had influences even that I’m unaware of, or unconscious of.”

De Niro Sr.’s art will be on display from November 14 through December 21, when DC Moore, the gallery in NYC's Chelsea neighborhood that represents his estate, will show six of his works in an installation called “Intensity in Paint.” The show, according to the gallery, showcases the artist’s “mastery in imbuing the canvas with vitality and brilliance through his post-fauve chromatic compositions." Other works can be seen year-round in the lobby, lounges, and guest rooms of the Greenwich Hotel and its restaurant, Locanda Verde, and in the Tribeca Grill—all owned by De Niro Jr. (The artist’s work even decorates menus in both restaurants.)

“Art is made to be seen and experienced," De Niro Jr. writes in his introduction to the new book. “Throughout his life, my father believed that his work would outlast him, and that it would continue to find new and appreciative viewers in the years to come. This book is my way of helping make that happen."

92|Y Press Release

Robert De Niro Discusses His Father
 Robert De Niro, Sr., The Artist

Monday, October 7 at 7: 30 PM, From $45

Twitter.jpeg

New York, NY – September 11, 2019 – Academy Award-winning actor Robert De Niro will visit 92Y on Monday, October 7 at 7:30 pm to discuss his father, the late artist Robert De Niro, Sr., and subject of the new book, Robert De Niro, Sr. Paintings, Drawings and Writings 1942-1993 (Oct. 8, Rizzoli Electa). 

De Niro will share his own recollections of his father’s personal and professional achievements as a committed and gifted artist and poet. Art historian Robert Storr will moderate the talk. 

Robert De Niro, Sr. debuted his abstract paintings at Peggy Guggenheim’s Art of This Century gallery in 1945, alongside the work of Jackson Pollock and Mark Rothko. His own work continued to evolve over the next five decades. Robert De Niro, Sr. Paintings, Drawings, and Writings 1949–1993 reproduces over 100 artworks with essays on varying aspects of his work.

Robert De Niro launched his motion picture career in Brian De Palma’sThe Wedding Party in 1969. By 1974 he had won both the New York Film Critics Award for Best Supporting Actor in Bang the Drum Slowly and the National Society of Film Critics Award forMean Streets. In 1974, De Niro won the Academy Award for Best Supporting Actor in The Godfather, Part II, and his second Oscar in 1980, as Best Actor, for Raging Bull . De Niro was a recipient of the Kennedy Center Honors in 2009 and the Presidential Medal of Freedom in 2016 from President Obama. With Jane Rosenthal, De Niro founded Tribeca Productions and the Tribeca Film Center in 1989, which brings together filmmakers and creators to work alongside one another. Following the September 11 attacks, they established the Tribeca Film Festival to revitalize lower Manhattan’s creative community. De Niro’s next project will be Netflix’s The Irishman in which he stars and is producing with Martin Scorsese, for their ninth collaboration.

Robert Storr is an artist, critic, curator and professor of painting at the Yale School of Art, where he served as Dean from 2006-2016. Previously he has been the Rosalie Solow Professor of Modern Art at the Institute of Fine Arts, NYU (2002-2006), a curator and senior curator of painting and sculpture at the Museum of Modern Art (1990-2002) and the first American-born director of the Venice Biennale (2005-2007).

INFO: 1395 Lexington Ave. | 212.415.5500 | 92Y.org
PRESS CONTACT: Andrew Sherman | 212.415.5693 | asherman@92Y.org

Wisdom from Robert De Niro, Sr.

"A Critical Piece of Advice Robert De Niro, Sr. Gave Me About Art"

Hyperallergic, June 18, 2018:

By John Seed

Robert De Niro senior’s sage advice, which he gave me in the late 1970s, has stayed with me, although I remember finding it intensely challenging when first offered.

Figure in a Hat with Rubber Plant, 1976. Oil on canvas, 50 x 60 inches

Figure in a Hat with Rubber Plant, 1976. Oil on canvas, 50 x 60 inches

In the late 1970s, just after I had just earned my bachelor’s degree in art, an art dealer offered to introduce me to the painter and poet Robert De Niro Sr. Since I admired De Niro’s work, I called and asked if I could drop by sometime and show him a few of my paintings. He said “Yes.”

De Niro, who lived in New York City, was briefly staying in the Bernal Heights neighborhood of San Francisco (painting and helping a friend extricate her daughter from the Moonies) in a small home that had a distinctly Bohemian air. I remember strands of glass beads hanging in the doorways and a caged green parrot named Demetrius. As I showed De Niro a group of my recent canvases — brushy landscapes of coastal scenes — I nervously rattled off a list of influences. This composition showed that I had been looking at Diebenkorn; the color relationships of this study were inspired by Van Gogh’s palette; I was thinking about Corot’s ability to suggest atmosphere when I painted this one and so on.

After patiently enduring my pompous monologue, De Niro — who had been quietly inspecting my work — made it clear that he was unimpressed by my attempt to justify my work by connecting it to that of famous artists. He told me: “Don’t worry about whether your work looks like anyone else’s. As you paint, you simply need to ask yourself ‘Is it any good?’”

De Niro’s sage advice has stayed with me, although I remember finding it intensely challenging when first offered. Just how, I wondered, could I find out what made art “good”? How would I ever gain admission to the Art World, which I had come to realize was a very complicated and foreboding social construct. Was I really supposed to search my own soul — and develop my own sense of judgment — instead of holding Artforum in my left hand while painting with my right?

The implications seemed overwhelming. Like most art students I had been spending as much time as I could visiting museums and galleries and poring over art books and magazines, but I gathered that De Niro wasn’t necessarily suggesting that I do more of that — that would just have given me a longer list of influences — but was instead telling me that I had to develop an internal and highly personal way of discerning and measuring quality. He was, of course, right.

What De Niro’s comment challenged me to do —  to turn inwards — is something that every artist needs to do, unless you are content with being an epigone: a lesser follower of a recognized artist. Turning inward was hard to do when I was young and it seems even harder now, with the vastly entertaining deluge of images that come our way through social media, each picture a deftly contrived piece of eye candy. It’s hard to think deeply about what makes a work of art “good” when you are holding an iPhone, scrolling though Instagram, and “liking” the art of anyone you want to flatter.

And for artists who are yearning for the sense that their art at least has social value — or even a sliver of profundity — has it ever been easier to earn instant mass validation? Even if you live like a hermit in a one-room cabin in Montana, your latest daub can still earn 1,000 likes in an hour. If it doesn’t, you can hire an Asian click farm and present the illusion of being massively “liked.” I worry that someday art historians may look back at this era as the one in which easy likes replaced hard-earned plaudits.

Standing in front of your own work and asking yourself “Is it any good?” is not a recommended activity for the immature or insecure. It needs to be done in the privacy of the studio with all devices turned off and all outside biases and preconceptions (including your own) absent. Philip Guston was referring this this situation when he once spoke about “studio ghosts:”

When you’re in the studio painting, there are a lot of people in there with you — your teachers, friends, painters from history, critics … and one by one if you’re really painting, they walk out. And if you’re really painting YOU walk out. 

The kind of quiet and emptying out needed in the studio is perhaps similar to what one might experience during a silent retreat. I recently met a woman who had taken a ten-day Buddhist retreat and I asked her “How did it go?” She replied: “For the first few days, I was climbing the walls.” For an artist, letting go of all of the external influences, forgetting about what sells and what doesn’t and not caring what your friends and family think will also likely induce — at first — that same sense of anxiety.

But when you start asking yourself “Is it any good” on a regular basis, and do so with a sense of sincerity and focus your work is bound to improve. Just thinking hard about what is “good” in art will give you an endless stream of questions that will occupy your mind whenever it needs something to chew on. The questioning state you will find yourself in will lead to greater humility and authenticity. That, in turn, will be accompanied by greater maturity and freedom.

The painter David Park — whose work changed profoundly in mid-career after he abandoned the then dominant style of Abstract Expressionism — understood this very, very well. He said:As you grow older, it dawns on you that you are yourself—that your job is not to force yourself into a style, but to do what you want.”

Henry Taylor awarded the 2018 Robert De Niro, Sr. Prize

Henry Taylor Hammons meets a hyena on holiday, 2016, Acrylic on canvas, 60 x 84 inches (152.4 x 213.4 centimeters)  © Henry Taylor, Courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo

Henry Taylor Hammons meets a hyena on holiday, 2016, Acrylic on canvas60 x 84 inches (152.4 x 213.4 centimeters)

© Henry Taylor, Courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo

(New York, NY – June 7, 2018) — The Estate of Robert De Niro, Sr. is delighted to announce that Henry Taylor is the 2018 recipient of the esteemed Robert De Niro, Sr. Prize. 

Established in 2011 by Robert De Niro, in honor of his late father, the accomplished painter Robert De Niro, Sr., the prize recognizes a mid-career American artist for significant and innovative contributions to the field of painting. Nominated each year by a distinguished selection committee, Henry Taylor is the seventh recipient of the $25,000 merit-based prize, administer by the Tribeca Film Institute (TFI) for which Robert De Niro is a co-founder. This marks the first time that Henry Taylor has been awarded a solo monetary prize for his achievements in painting.  

Since the inaugural prize was awarded to Stanley Whitney in 2011, the list of recipients has grown to including acclaimed painters Joyce Pensato (2012), Catherine Murphy (2013), Robert Bordo (2014), Laura Owens (2015), and R.H. Quaytman (2016). The Robert De Niro, Sr. Prize is among the first of its kind to celebrate and shine a light on influential mid-career artists. 

This year’s selection committee included Sarah Douglas, Editor-In-Chief of ARTnews; Courtney Martin, Deputy Director and Chief Curator of Dia Art Foundation; and Susan Thompson, Associate Curator at the Solomon R. Guggenheim Museum.

Of Taylor’s work Courtney Martin remarked, “In what feels like a condensed number of years, Henry Taylor has delivered a body of engaging narrative, figural painting. Though the stories attached to the works are often deeply personal, the canvas reveals layers of meanings both universal and formal.  He is masterful with color and with compositional arrangements that prick the senses. Taylor’s paintings are a full-on experience.”

“Henry Taylor had the unusual experience of 'emerging' in mid-career, becoming known widely as an artist at age 50 or so,” said Sarah Douglas. “Having followed his career closely over the past ten years, and made visits to his studio (whether the permanent one in Los Angeles or the impromptu one at P.S.1), I've witnessed, and never fail to be impressed by, his dedication to painting."

 “Whether his subjects are friends and neighbors, local homeless or mentally ill individuals, or prominent cultural figures, each of Taylor’s portraits captures the fullness of a life in a single moment, evoking a distinct sense of mood and creating a profound connection with the viewer,” said Susan Thompson.

“I very much admire Henry Taylor's lifelong dedication to his work and his continued devotion to painting through his teaching.” said Robert De Niro “I am proud to recognize Taylor’s career through this prize that honors my father’s memory, and I am grateful to the selection committee for their choice of Henry Taylor this year.”

"Good things come to those who wait," said Henry Taylor.

About Henry Taylor

Henry Taylor was born in Ventura, CA (1958) and received a BFA from the California Institute of the Arts. Recent solo exhibitions include the floaters, High Line Art, New York, NY (2017); This Side, That Side, The Mistake Room, Guadalajara, Mexico (2016); They shot my dad, they shot my dad!, Artpace, San Antonio, TX (2015); and a retrospective at MoMA PS1, Long Island City, NY (2012). His work has been featured in group exhibitions in museums worldwide including the Whitney Biennial, Whitney Museum of American Art, New York, NY (2017); Why Art Matters!, Torrance Art Museum, Torrance, CA (2017); Stedelijk Museum voor Actuele Kunst, Ghent, Belgium (2016); Astrup Fearnley Museet, Oslo, Norway (2016); Whitney Museum of American Art, New York NY (2016); Hammer Museum at Art + Practice, Los Angeles, CA (2016); Camden Arts Centre, London, UK (2016); Studio Museum, Harlem, NY (2013); Carnegie International, Carnegie Museum of Art, Pittsburgh, PA (2013); Museum of Contemporary Art, Los Angeles, CA (2012); Los Angeles County Museum of Art, Los Angeles, CA (2011); and the Rubell Family Collection, Miami, FL (2011).

About Robert De Niro, Sr.

Robert De Niro, Sr. (1922-1993) was part of the celebrated New York School of Post-War American artists. His work blended abstract and expressionist styles of painting with traditional representational subject matter, bridging the divide between European Modernism and Abstract Expressionism. He studied at the renowned Black Mountain College with Josef Albers, and later, with Hans Hofmann in Provincetown and New York, before going on to exhibit at Peggy Guggenheim’s renowned Art of this Century gallery in 1945 and 1946, as well as at galleries throughout the U.S. during his career. In 2010, a retrospective exhibition of his work was presented at the Musee Matisse in Nice, France. 

De Niro, Sr.’s work is included in the permanent collections of the Brooklyn Museum of Art; Hirshhorn Museum and Sculpture Garden; The Metropolitan Museum of Art; Smithsonian American Art Museum; Parrish Art Museum, and Whitney Museum of American Art, among others. His work is represented by DC Moore Gallery. 

For more information on the Estate of Robert De Niro, Sr. please visit www.robertdenirosr.com.  

About the Jurors

Sarah Douglas currently serves as the Editor-in-Chief of Artnews and has been an art journalist and editor since 1999. From April 2011 to July 2014, she served as Culture Editor at The New York Observer. Prior to The New York Observer, Douglas was a staff writer at Art+Auction, Modern Painters and Artinfo.com, which she helped to launch in spring 2005 as a key member of the site’s original editorial team. For four years she ran the U.S. editorial office of the London-based The Art Newspaper, and has contributed to T: The New York Times Style Magazine, New York magazine online, The Economist’s quarterly Intelligent Life and The National, among others. In 2013 Douglas was the recipient of ArtTable’s New Leadership award.

Courtney J. Martin is the Deputy Director and Chief Curator at the Dia Art Foundation, prior to which she held distinguished positions at institutions including Brown University, Vanderbilt University and the University of California, Berkeley. She received a doctorate from Yale University for her research on twentieth century British art and is the author of essays on Rasheed Araeen, Kader Attia, Rina Banerjee, Frank Bowling, Lara Favaretto, Leslie Hewitt, Lubaina Himid, Asger Jorn, Wangechi Mutu, Ed Ruscha, Jack Whitten and Yinka Shonibare. In 2018 she will oversee exhibitions of art work by Mary Corse, Dan Flavin, Nancy Holt, Blinky Palermo, Dorothea Rockburne and Keith Sonnier at the Dia Art Foundation. 

Susan Thompson is Associate Curator at the Solomon R. Guggenheim Museum. Since joining the curatorial staff in 2009, she has contributed to several exhibitions and catalogues, including Rineke Dijkstra: A Retrospective (2012), Carrie Mae Weems: Three Decades of Photography and Video (2014), Doris Salcedo (2015), Photo-Poetics: An Anthology (2015–16), and Danh Vo: Take My Breath Away (2018). Thompson cocurated Paul Chan, Nonprojections for New Lovers (2015) and Anicka Yi, Life Is Cheap (2017). Thompson is one of the organizing curators for the museum’s Young Collectors Council, which acquires the work of emerging artists for the museum’s permanent collection.

About Tribeca Film Institute 

Tribeca Film Institute champions storytellers to be catalysts for change in their communities and around the world. Each year, we identify a diverse group of exceptional filmmakers and media artists then empower them with funding and resources to fully realize their stories and connect with audiences. Our education programs empower students through hands-on training and exposure to socially relevant films, offering young people the media skills necessary to be creative and productive global citizens. We are a year-round nonprofit arts organization founded by Robert De Niro, Jane Rosenthal and Craig Hatkoff in the wake of September 11, 2001.

For more information about Tribeca Film Institute, please visit http://www.tfiny.org

For more information on the Robert De Niro, Sr. Prize, please contact Shawna Gallancy, Sutton, at Shawna@suttonpr.com or +1 212 202 3402.

R. H. Quaytman awarded the 2016 Robert De Niro, Sr. Prize

R. H. QUAYTMANMorning, Chapter 30, 20162 parts:1. Oil, egg tempera, silkscreen ink, gesso on wood37 1/16 x 37 1/16 x 1 1/4 inches (94.1 x 94.1 x 3.18 cm)[RQ1887.16]2. Gouache, silkscreen ink, gesso on wood32 3/8 x 20 x 3/4 inches (82.25 x 50.8 x 1.9…

R. H. QUAYTMAN
Morning, Chapter 30, 2016
2 parts:
1. Oil, egg tempera, silkscreen ink, gesso on wood
37 1/16 x 37 1/16 x 1 1/4 inches (94.1 x 94.1 x 3.18 cm)
[RQ1887.16]
2. Gouache, silkscreen ink, gesso on wood
32 3/8 x 20 x 3/4 inches (82.25 x 50.8 x 1.9 cm)
[RQ1908.16]
Overall dimensions:
38 1/16 x 37 1/16 x 3 inches (96.68 x 94.1 x 7.62 cm)

(NEW YORK, NY) DECEMBER 12, 2016 — Robert De Niro Jr. announced the winner of the 2016 Robert De Niro Sr. Prize, which focuses on a mid-career American artist devoted to the pursuit of excellence and innovation in painting. Award winner R.H. Quaytman will receive this year’s $25,000 prize administered by Tribeca Film Institute (TFI) for her considerable contribution to the field of painting. R.H. Quaytman is the sixth recipient of the merit-based prize, which pays tribute to the work and legacy of accomplished painter Robert De Niro Sr.

Robert De Niro Sr. was part of the celebrated New York School of post-war American artists. In his honor, this award was created by his son and TFI Co-Founder Robert De Niro to support the next generation of American painters.  The Robert De Niro Sr. Prize is among the first of its kind to celebrate and shine a light on influential mid-career artists. Stanley Whitney received the inaugural award in 2011, Joyce Pensato in 2012, Catherine Murphy in 2013, Robert Bordo in 2014, and Laura Owens in 2015.

A selection committee of distinguished individuals in the art world was appointed to nominate candidates and select the prize recipient. It included: Kelly Baum, Curator of Postwar and Contemporary Art at The Metropolitan Museum of Art; Scott Rothkopf, Deputy Director for Programs and Nancy & Steve Crown Family Chief Curator at the Whitney; Katherine Brinson, Curator, Contemporary Art.
 
“Rebecca Quaytman makes some of the smartest, most intriguing paintings in the United States,” stated Baum. “The work she has produced since 2001, which is conceived as a series of chapters, each one based on extensive research, brilliantly triangulates form, content, and structure. It also addresses self-consciously the conditions of its own reception in time and space, just as it considers explicitly the nature of painting and perception today. We wanted to recognize the importance of Quaytman’s work to the history of American painting as well as the crucial role Quaytman played as director of Orchard between 2005 and 2008.”

Brinson continued “R. H. Quaytman's incisive practice explores the critical agency of painting today. Drawing on diverse visual sources and conceptual references, her works cohere into a nuanced meditation on the layered, relational, and highly perspectival interpretive possibilities offered by the painted image.”

Rothkopf added, "The conceptual rigor of Quaytman's work is matched by a surprising emotional sensitivity and timbre.  Her paintings eloquently evoke a poetic sensibility and range of moods that can feel almost expressionistic despite their often mechanical and mediated means."

R.H. Quaytman (b. 1961, Boston, Massachusetts) lives and works in New York, NY. She graduated from Bard college in 1983.

Quaytman is best known for her paintings on wood panels that incorporate photography, digital technologies, and printmaking techniques that are the result of extensive research precipitated by the historical, architectural or social aspects of particular sites. Although each painting can stand alone, they are created in a series and are labeled as “chapters,” showing the successive nature of her work. Quaytman was the recipient of the Rome Prize in 1991, and has since been featured in numerous solo exhibitions, including the Queens Museum in 2001, Miguel Abreu gallery in 2008, and the San Francisco Museum of Modern Art in 2010,. Her work was prominently featured in the 2010 Whitney Biennale and has been collected by the Whitney, New York, MoMA, New York, Guggenheim, New York, and the Tate Modern, London. In 2006 she joined the faculty as a professor in painting in the Masters of Fine Arts program at her alma mater, Bard college.

About Robert De Niro Sr.
De Niro Sr.’s work blended abstract and expressionist styles of painting with traditional representational subject matter, bridging the divide between European Modernism and Abstract Expressionism. He studied at the renowned Black Mountain College with Josef Albers, and later with Hans Hofmann in Provincetown and New York. He went on to exhibit at Peggy Guggenheim’s renowned museum/gallery, Art of this Century in 1945 and 1946, as well as at galleries throughout the U.S. during his career. In 2010, a retrospective exhibition of his work was presented at the Musée Matisse in Nice, France. De Niro Sr.’s work is found in the permanent collections of the Brooklyn Museum of Art, Hirshhorn Museum, Metropolitan Museum of Art, Smithsonian American Art Museum, among others. His life and work was chronicled in Remembering The Artist: Robert De Niro, Sr., a documentary aired on HBO in June, 2014. The Estate of Robert De Niro, Sr. is represented by DC Moore Gallery, New York, and is advised by Megan Fox Kelly. The prize is funded by Robert De Niro.

For more information on the Estate of Robert De Niro, Sr. visit http://www.robertdenirosr.com/

AboutTribeca Film Institute (http://www.tribecafilminstitute.org)
Tribeca Film Institute champions storytellers to be catalysts for change in their communities and around the world. Each year, we identify a diverse group of exceptional filmmakers and media artists and empower them with funding and resources to fully realize their stories and connect with audiences. Further, our education programs empower students through hands-on training and exposure to socially relevant films, offering young people the media skills necessary to be creative and productive global citizens. We are a year-round nonprofit organization founded by Robert De Niro, Jane Rosenthal, and Craig Hatkoff in the wake of September 11, 2001.